among others "Tenzone," "The Condolence," "The Garret,"
"Salutation the Second," and "Dance Figure."

There are influences, but deviously. It is rather a gradual
development of experience into which literary experiences have
entered. These have not brought the bondage of temporary
enthusiasms, but have liberated the poet from his former
restricted sphere. There is Catullus and Martial, Gautier,
Laforgue and Tristan Corbiere. Whitman is certainly not an
influence; there is not a trace of him anywhere; Whitman and Mr.
Pound are antipodean to each other. Of "Contemporanea" the
_Chicago Evening Post_ discriminatingly observed:

Your poems in the April _Poetry_ are so mockingly, so
delicately, so unblushingly beautiful that you seem to have
brought back into the world a grace which (probably) never
existed, but which we discover by an imaginative process in
Horace and Catullus.

It was a true insight to ally Pound to the Latin, not to the
Greek poets.

Certain of the poems in "Lustra" have offended admirers of the
verse of the "Personae" period. When a poet alters or develops,
many of his admirers are sure to drop off. Any poet, if he is to
survive as a writer beyond his twenty-fifth year, must alter; he
must seek new literary influences; he will have different
emotions to express. This is disconcerting to that public which
likes a poet to spin his whole work out of the feelings of his
youth; which likes to be able to open a new volume of his poems